What corporate video production in London includes
Six formats cover most of what a London business books, from a one-day brand film to a stripped-down set of employee interviews.
Brand films and testimonials
A brand or about-us film runs two to three minutes and costs £1,200 to £2,000, built from a half or full day on location. A set of three to five customer testimonials runs from £900, shot in a single afternoon with your customers coming to you rather than the other way round.
Recruitment, culture and training
Recruitment and culture films run ninety seconds to two minutes, mostly current staff on camera rather than a scripted voiceover, from around £900. Training and internal comms video is priced by length rather than polish; a ten-minute onboarding module costs less to make convincing than a two-minute brand film, because nobody needs to be sold on watching it.
Events and thought-leadership
Conference and event coverage sits alongside event video from £500 depending on scale, and talking-head or thought-leadership series get priced per episode once we agree a format. For recurring interviews and panels, podcast and series production covers that on an ongoing basis.
Everything on this page assumes moving footage. For stills from the same visit, corporate photography from £250 covers portraits and event photography booked alongside or instead of film.
Corporate video prices
Prices below cover the shoot, edit, colour grade and two rounds of revisions. See full pricing across every service if you’re comparing this against photography booked on the same visit.
| Deliverable | Typical length | Shoot time | Price |
|---|---|---|---|
| Single edited piece | 1–2 minutes | Half day | £600 |
| Brand or about-us film | 2–3 minutes | Full day | £1,200–£2,000 |
| Testimonial set (3–5 customers) | 2–3 minutes each | Full day | From £900 |
| Recruitment or culture film | 90 seconds–2 minutes | Half to full day | From £900 |
| Training series | 5–10 minutes per module | Full day, multiple modules | From £1,500 |
| Event or conference film | 2–4 minutes | Full day | From £1,000 |
| Second camera | – | – | +£250 |
| Presenter or voiceover | – | – | +£150–£300 |
| Extra revision round | – | – | £150 |
Travel anywhere in London is included in the prices above, ULEZ and the Congestion Charge covered by me rather than billed to you. An agency will quote £5,000 to £8,000 for the same brand film.
Some of that buys things I don’t provide: a producer managing a crew of six, a strategist writing the brief with you, a separate colourist and sound engineer instead of one person doing all three. For one film shot on location with one or two cameras, you’re mostly paying for a bigger team standing around the same shoot, not a better result on screen. A large crew earns its cost on a multi-location shoot; for one office and one story, I’d argue it doesn’t.
How a project runs, start to finish
Every project follows the same order, whether it’s a single testimonial or a five-module training series.
- Brief and objective: what the film has to do, and for whom, agreed before anything is booked
- Script or question set: a full script for a brand film, an interview question set for testimonials and culture pieces
- Schedule and locations: dates, rooms and people confirmed, including building access if you’re in the City or Canary Wharf, where photo ID and a security escort above ground floor are common
- Shoot day: half or full day on location, usually your office rather than a studio
- First cut within ten working days of the shoot
- Two rounds of revisions, covering structure first, then polish
- Final delivery in the formats you need, not just the one everyone assumed
What causes a project to slip is almost never the production. It’s approval. A first cut sitting in one inbox for three weeks while five people are supposed to sign off loses more time than any shoot day ever has. Agree who signs off before the shoot, not once the edit lands. See what happens on a corporate video shoot day for the fuller run-through of a typical day.
Testimonials and case study films
This is the most-requested format on this page, and the most often botched by companies who script it themselves. A customer reading a script sounds like a customer reading a script, and viewers clock it within seconds.
I interview instead. A short set of open questions, “what problem were you trying to solve”, “what nearly stopped you booking”, “what would you tell someone considering this”, produces answers that sound like a person talking, because they are. The script gets built afterwards, in the edit, from what they said.
Budget forty-five minutes with each person for a two-minute finished film. Ten minutes of that is settling nerves and adjusting the lapel mic; the rest is the interview itself, from which I’ll use perhaps ninety seconds. Three to five customers in a day is realistic if they’re all coming to one location. See video work for London businesses for finished examples, and how to get usable testimonials on camera for the full question set and how to brief a nervous customer beforehand.
Recruitment and culture video
What persuades a candidate is current employees talking without a script, and the building as it actually looks on an ordinary Tuesday. What doesn’t persuade anyone is the CEO reading out the company values to camera. I’d say that outright: most values videos get skipped after four seconds, and candidates know the difference between a rehearsed line and someone answering honestly.
The films that get watched to the end are built from short, unscripted answers: what a normal day involves, what surprised someone about the job, what they’d tell a friend thinking of applying. Shot handheld with a fast 35mm so nobody is performing for a locked-off camera, in the actual office rather than a meeting room dressed for the occasion.
Culture and recruitment films run from around £900 for a half-day shoot with four or five employees. See recruitment video that candidates believe for the question set that gets past rehearsed answers.
Sound, light and shooting in an office
Three things cause most of the problems on a corporate shoot, and none of them are about the camera.
- A glass-walled meeting room in a Canary Wharf tower looks clean on camera and sounds terrible on a recording; hard surfaces bounce every word back into the mic until a clean “boardroom sound” turns into an echo on playback
- Air conditioning hum a lapel mic picks up that nobody notices live but everyone hears in the edit, so I ask for it off during takes, which surprises facilities teams more often than it should
- Flat light even in a bright office, since window light alone leaves half a face in shadow, so I still light a talking head with a small kit at midday
What I actually need from a building: one room booked for two hours, not forty minutes squeezed between meetings, no fire alarm test scheduled that day, and someone with authority to turn the air conditioning off. Confirm all three before I arrive and the shoot runs on time.
Editing, revisions and delivery formats
Two rounds of revisions means two structured passes: the first for content, cutting, reordering, swapping in a different soundbite, the second for polish, colour, music and captions. A third round exists, and it’s billed separately, usually because someone new joined the approval chain after the second round was already signed off.
Subtitles come as standard, burned in or as a separate file, because most people watch corporate video with the sound off on a phone or in an open-plan office. Building that in from the start is quicker than adding it after the edit is locked.
Every shoot gets framed loosely enough to deliver 16:9 for the website and YouTube, 1:1 for LinkedIn, and 9:16 for Instagram and TikTok, without a reshoot. Ask for the full set rather than assuming one crop covers every platform you use. See what video editing costs for how the edit itself is priced when it’s booked separately from a shoot.
When you shouldn’t be making a corporate video
No clear objective is the biggest reason a corporate video underperforms. “We should probably have a video” isn’t a brief, and a film built on it wanders because nobody agreed what it had to achieve.
A film that exists because a competitor has one rarely earns its budget either. Copying the format without the reason behind it usually looks exactly like what it is.
The other tell: a brief that opens with a length, “we need a two-minute video”, rather than an audience, who is watching and what they need to do afterwards. Fix the audience question first. The length, the format and the price follow from that, not the other way round.
Tell me the audience and what the film has to do, and I’ll reply within one working day with a rough shape and a price. Send the building address too, and I’ll flag anything about access or acoustics before you book a date.